by Jean Dupuy

Jean Dupuy was born in Moulins in Allier on November 22, 1925 of the zodiacal sign: sagittarius. After a very Parisian lyrical period, inspired by informal artists: Jean Degottex, Hans Hartung or Georges Mathieu. The interest and relative success with the public (A +: His abstract paintings refer to the salons of good old Auvergne houses, Valérie Giscard d'Estaing must love. Fortunately he has less left) will decide to complete the adventure by throwing most of it into the Seine (1967) to devote himself, from the end of the 1960s to the beginning of the 1970s, to mechanical and technological art with which he would achieve great success during the exhibition "The Machine" in New York where he settles. His encounter with a center of the artistic community: dynamic and committed and particularly funny whose core is George Maciunas, will be decisive in the organization of his new production of No-production for future. * 1968 - Following a “cascade of coincidences”, in his own words, Jean Dupuy realizes his work Cone pyramid; parallelepiped in wood and glass at the heart of which a square of rubber is illuminated by a projector and on which rests a red organic pigment (Lithol Rubin of very low density: 1.56). A loudspeaker, placed under the rubber square, is connected to an electronic stethoscope. The spectator's heartbeat serves as a motor for the machine. Amplified by the electro-acoustic system, they make the rubber membrane vibrate and propel in the air, in rhythm, the dust that defines in the ray of light, by an optical effect, a shape that is both circular at the top. and pyramidal at the base. This dust sculpture wins the competition launched by Experiments in Art and Technology, led by Robert Rauschenberg and Billy Klüver. Exhibited at MoMA, as part of the exhibition The Machine as Seen at the End of the Mechanical Age organized by Pontus Hulten, it is presented simultaneously at the Brooklyn Museum, on the occasion of the exhibition Some More Beginnings. Ileana Sonnabend then bought a version of the Cone Pyramid and invited Jean Dupuy to join the gallery she directed, where he remained until 1973. During these years, with the unreserved financial assistance of Ileana Sonnabend, he became involved in a technological practice of art, to better reveal to the observer elements that are usually invisible. 1969-1972: During these four years, the I. Sonnabend gallery devotes four exhibitions to him, two in New York, two in Paris. Jean Dupuy is also offered several personal exhibitions in institutions such as the Whitney Museum and MoMA, in New York; the Museums of Modern Art of San Francisco and Detroit; the ARC, Museum of Modern Art of the City of Paris; the Alhambra Museum and Theater in Bordeaux, as part of SIGMA It also exhibits at the Hayden Gallery, MIT, Boston; at Buffalo State University, New York. ; at Connecticut College for Women; at the University of St Thomas, Houston; at the WPA Gallery, Washington DC; at the Galleria Toselli, Milan ... He participates in various group exhibitions in the United States, France, Australia and Belgium. At the same time, he taught for two years at the School of Visual Arts in New York, from 1969 to 1971. 1969 - Jean Dupuy was contacted by Jane Livingstone, journalist and curator, and Maurice Tuchman, curator of the County Museum of Art in Los Angeles, to participate in the A&T (Art & Technology) program. Aiming at the association of artists and industries, this project led, in 1971, to an exhibition at the Los Angeles museum in which R. Rauschenberg, A. Warhol, C. Oldenburg, T. Smith, R. Serra participated in particular. and R. Whitman. Jean Dupuy takes the opportunity offered to him to work with “Cummins Engine Company” - the first American diesel engine company - to denounce the polluting industry, lobby of the Vietnam War. He proposed to “Cummins Engine Company” to make visible, in a working Diesel engine, the four natural elements (Fire, Earth, Water, Air). The work thus entitled FEWAFUEL takes up a mechanical challenge, the political significance of which escapes the direction of the company during the production phase. Finding itself exhibiting the polluting debris from its own engines, "Cummins Engine Company" finally forced the museum to withdraw, a few days after the opening, FEWAFUEL from the exhibition. In exchange for this breach of contract, the company donates this work to the artist, which has now been restored to working order and is the property of the French state deposited at the FRAC Bourgogne 1972 - the 72/72 exhibition at the Grand Palais in Paris, presents three works by Jean Dupuy, including Ear, a work which allowed the visitor, using a system of optical fibers, to see the interior of his ears 1973 - J. Dupuy leaves the gallery I Sonnabend and organizes, in his loft, his first Group show, entitled About 405 East 13th street in reaction to speculation in the art market. First edition of an event noticed by the press, which will take place the following two years, in 1974 and 1975. In the same year, he composes from the wording “American Venus Unique Red” printed on his pencil, “Univers Ardu en Mechanical ”: his first anagram 1974 - He organized a performance night called Soup & Tart at the Kitchen, New York. He then invites, during a dinner of three hundred people, about forty artists to perform performances not exceeding two minutes Encouraged by Olga Adorno, he multiplies the collective projects that will take place at Judson Church, in the galleries J. Yu, 112 Green Street, E. Sragow, Fine Art Building, 3 Mercer Street, at PSOne, at the Whitney Museum and in his Grommet Studio, which will be a permanent workshop place until 1980 1976 - Exhibited at the Akademie der Kunste in Berlin, on the occasion of the Soho show exhibition. From that year, he befriended George Maciunas whom he met in Soho. J. Dupuy lived in the latter's studio when he left for Massachusetts in 1977. Between 1976 and 1978, he invited a large number of artists to create short filmed performance suites, constituting a series of videos entitled: Chant a capella with Gigliotti; Artists Propaganda I and II and Artists Shorts with Defess; The pub and Artists Propaganda III, in the studios of the Center Georges Pompidou, Paris 1978 - Personal exhibition at the Marian Goodman gallery, New York. This year is marked by the disappearance of three of his comrades: George Maciunas, Gordon Matta-Clark and André Cadere. On October 16 of this year, Jean Dupuy is organizing with the collaboration of the Center Georges Pompidou, Art Performances / Minute in the rooms of the Louvre, in Paris. Birth of Augustin, son of Olga Adorno and Jean Dupuy 1979 - He decides to put an end to the organization of collective performances, and devotes himself more to the creation of objects and to anagrammatic research 1980: He participates in the exhibition Für augen und ohren at the Akademie der Kunste in Berlin and Listening through the eyes, organized at the ARC, Museum of Modern Art of the City of Paris. He then organized his last collective performances, Grommets # 5 and Art sur Loire with Jacques Halbert 1981-82 - He took part in the Soundings exhibition at the Neuberger Museum, New York. In 1981, the Ancienne Poste gallery in Calais and the Jean-Claude Riedel gallery in Paris devoted a personal exhibition to him respectively. Between 1981 and 1982 he worked again at the JC Riedel gallery by carrying out an exhibition with Jacques Monory, entitled Duo and a second monographic exhibition the following year entitled Leo's clock 1982 he participated in major Fluxus exhibitions, notably at the Wiesbaden Museum in claiming a POST FLUX attitude (The death of George Maciunas in 1978 being for Jean Dupuis the end of the creator and movement Fluxus). 1984 - he leaves New York, and settles in Pierrefeu in the hinterland of Nice, where he writes his first book of anagrams: Ypudu, Anagrammiste (edited by C. Xatrec, 1987). He also produces large anagrammatic paintings on canvas and various objects often using optics and motors. He also began to produce works composed of pebbles and pebbles collected during his walks. Takes part in the Electra exhibition, at the Museum of Modern Art of the City of Paris. 1985 and 1987, he was invited by René Block to do a residency in Berlin as part of the DAAD foreign artists program - during which he participated in the Musik und Sprache event, at the end of which he published the book LEON 1986. 1988 and 1991, he spent six months a year in residence in Verona and on the shores of Lake Garda, Italy, with the patron, collector and publisher Francesco Conz who produced, edited and sold numerous pieces 1990 - Jean Dupuy participated in the 'Pianofortissimo exhibition which takes place at the Mudima Foundation, Milan, as well as at the Venice Biennale Italy (I) 1993 - he participates in Artec'93 at the City Art Museum in Nagoya, Japan and integrates the permanent exhibition Curios & Mirabilia at Oiron Castle. Emmanuel Latreille offers, in 1995 and through the intermediary of the FRAC Auvergne then the FRAC Bourgogne, two personal exhibitions. The first, Seconde vue, will be presented at the Château de Cintrat and the second, entitled "O h! This short tour turns short" will be presented at the FRAC Bourgogne (F) 1996 - he takes part in the exhibition L'informe, at the Center Georges Pompidou Musée National d'Art Moderne, Paris (F) 1998 - "We don't lose sight of each other" at MAMCO in Geneva (CH) 1999 - "Dupuy chez Conz" FRAC Bourgogne - "la table à saluer" personal exhibition at the gallery Philippe Pannetier Nîmes (F) 2000 - The artist travels regularly to Montreal where he works with the gallery Espace de Résidence Clark (CA). 2002 - he exhibits at the Museum of Genoa, Italy. "Cailloux" solo exhibition at the Philippe Pannetier gallery, in Nîmes. 2003 - Looking at stones, at the Emily Harvey gallery, New York; Analogies, at the Clark gallery, Montreal, as well as "Cailloux", at the Interface gallery, Dijon. He also participates in Dust memories, at the Swiss Institute of New York (USA) 2004: "It turns in circles" personal exhibition at the Philippe Pannetier gallery, in Nîmes. group exhibitions, presentation of works from the collection of the FRAC Bourgogne: L'art à Lire, in 2004 2005: FRAC Bourgogne Nues & Nu, in 2005 2006: The artist participates in various group exhibitions including: We will not go in Leipzig! The gallery of multiples, Paris; Varia Naturalia at the Vasistas gallery, Montpellier, as part of the cycle of exhibitions entitled Chauffe Marcel organized by the FRAC Languedoc-Roussillon 2007-08: "Jean Dupuy" at the Rez de chaussée du MAMAC (Museum of Modern Art and Contemporary Art) from Nice and "Jean Dupuy at the Semiose gallery, Paris. Flux FRAC-Bourgogne Dijon 2008: À la bonne heures! (The expression underlines the temporal happiness. Time rediscovered. Hello from Jean Dupuis' grandfather who received him) every morning at the lunch table using this expression) monographic exhibition at the Villa Arson, Nice, In fourth gear, exhibition of paintings from the 1950s and 1960s at the Villa Tamaris, La Seyne Sur Mer; "20 / twenty l'œil gourmand "Espace Peiresc 2009: Exhibition" Ailephant flies! "February 7 to April 25, 2009 Galerie Barnoud Dijon 2010: Chez Robert Espace d'art -" In 4th gear "Galerie Lœvenbruck Paris.